LAFF 2013: CONCUSSION

Abby (Robyn Weigert) in Concussion.

Homo superior

By Don Simpson 

Sure, some of the situations in Stacie Passon’s Concussionmay seem a bit ridiculous at times, but Robin Weigert is always convincing as Abby. Consistently intense with intent, Weigert’s Abby is a woman on a mission. Passon thankfully never sexualizes Abby; instead, she develops Abby into a complex and thought-provoking character. Despite the tangled web of a secret life that Abby weaves, she remains empathetic. We feel for Abby, we want her to have a happy sex life; all the while, Abby wants to help make other women happy as well. This is precisely Passon’s true genius — her ability to portray prostitution as a social service. Abby is neither skanky nor sleazy, poor nor desperate; she is an intelligent, talented and successful woman who just so happens to rediscover her love of sex by way of prostitution. If she can teach other women how to have healthy and happy sex lives — and make some decent cash while doing so — why the heck not? What other choice does she have? Would it be better for her to never experience sexual pleasure with another woman?

 

We have watched plenty of films over the decades in which a husband strays from a sexless heterosexual marriage to enjoy sex with prostitutes. When a man does that to a woman that is bad, right? At least that is what the history of cinema has taught us. That is what I find most interesting about Concussion, because Abby seems to be in the right. So, why is Abby so different than her male predecessors in cinema? Is it because she is a woman? Is it because she is having sex with other women? Or, is it simply because Passon adequately justifies Abby’s actions?

 

 

Concussion screens at LAFF 2013: June 19, 7:30 p.m., Regal Cinemas; June 21, 4:30 p.m. Regal Cinemas. For more information: Concussion at LAFF 2013.

THEATER REVIEW: OTHER DESERT CITIES

Elephant

By Ed Rampell

Sometimes, agitprop plays come across like pamphlets and onstage screeds. On the other hand, “interior” dramas solely dealing with their characters’ inner lives seem devoid of a social context. However, the great thing about Jon Robin Baitz’s Other Desert Cities is how the playwright adroitly interweaves the play’s political background and subtext with a very realistic family drama, with all the agility of a playwriting Spiderman, who pins tales as well as webs. Traversing a tightrope between two genres, it’s as if Other Desert Cities' dramatist has found a happy medium between, or even perhaps united, the best of the Clifford Odets of Waiting for Lefty with the Eugene O’Neill of The Iceman Cometh. Baitz combines the generation gap, antiwar protest from Vietnam to Iraq, the Reagan era and more with a conflict between a daughter and her parents that would not have been unfamiliar to ancient audiences attending Greek amphitheatres.

Baitz’s skillfully brewed concoction -- decidedly shaken, not stirred -- works exceedingly well in this two-acter, especially as the complex story is brought to life by an ensemble of gifted veteran thespians. The plot concerns Brooke (Robin Weigert), a troubled author who has relocated to the East Coast, who visits her doting parents in their Palm Springs home -- stylishly rendered with desert background by set designer Takeshi Kata -- during the holidays following George W. Bush’s 2004 reelection. At first, the sixtyish Lyman (Robert Foxworth) and Polly Wyeth (JoBeth Williams) are thrilled to see their errant writer of a daughter, as well as their son Trip (Michael Weston), a reality TV producer.

But tensions soon flare, enflamed by politics: Staunch Reaganites who defend Bush’s imperial misadventures in Iraq and Afghanistan, Lyman and Polly quickly clash with the lefty Brooke. Polly’s substance abusing sister ,Silda Grauman (Jeannie Berlin), enters the combustible fray with pithy critiques of Polly, an ex-screenwriter, and of Lyman, a former B-actor who went on to become GOP chairman.

Just as George and Martha purported to have an offstage son in Edward Albee’s Who’s Afraid of Virginia Woolf? the Wyeths’ son/ brother/nephew is similarly an unseen presence in Other Desert Cities who casts a long shadow. It turns out that during the 1970s Henry joined a Weathermen-like extremist antiwar group of domestic terrorists who, we are told, after a “propaganda of the deed” to protest Vietnam goes terribly wrong, dies -- probably in a self-inflicted way. The loss of Henry seems to weigh especially heavily on Brooke’s shoulders, causing her to become depressed and institutionalized. But she has come out of her catatonic state by writing a tell-all confessional about her long lamented older brother -- which also threatens to shatter her already polarized family. Brooke’s Republican parents appear to be trying to live down the legacy of their wayward radical son and vociferously object to publication of the book and the ensuing nightmare, presumably because they will have to relive the worst moment of their lives, one which they have been trying to leave behind in the rear view mirror for decades.

The really delicious thing about this play is how its storyline and characters wander about the desert in unexpected ways. There’s nothing worse than seeing a show and correctly guessing the lines of dialogue and figuring out its denouement well in advance. But as the name of this work -- which refers to a road sign -- indicates, Other Desert Cities heads in unforeseen directions, with unexpected plot twists and turns. Act I is a dramedy, with plenty of pithy one-liners and zingers hurled back and forth, often with then-topical references about WMDs, Colin Powell and “whining lefties.” Act II is decidedly more of a drama, with the chickens coming home to roost for the dysfunctional Wyeths.

The ensemble is superbly directed by Robert Egan; well-versed in all things Baitz he has repeatedly collaborated with the playwright, who also created the ABC family series, Brothers & Sisters. The cast is simply stellar.


Other Desert Cities runs through Jan. 6, 2013 at the Mark Taper Forum, 135 N. Grand Ave. LA, CA. 90012. For more information: www.centertheatregroup.org;213/628-2772